AQA AS Music Brief analysis on Vivaldi's Gloria 3.0 / 5 based on 1 rating ? MusicASAQA Created by: Sharbelina TzouvanniCreated on: 06-04-12 17:02 Vivaldi and his Gloria (Mass) Antonio Vivaldi ginger Priest composer virtuosic violinist worked in a girls orphanage in Venice Gloria instruments: harpsichord, strings, trumpet, oboe Vivaldi uses trumpet differently - more elegant not very complicated 1 of 8 Difference Between Vivaldi's Gloria and Handle's M Vivaldi's Gloria uses trumpet more elegantly than in Handle's Messiah less complicated than Handle's Messiah uses an oboe Handle's Messiah trumpet in Messiah is more fanfare than Vivaldi's Gloria more complicated than Vivaldi's Gloria doesn't use an oboe 2 of 8 Vivaldi's Gloria (Mass) - Gloria In Excelsis Deo Gloria In Excelsis Deo D major allegro - fast tempo originally for S,A,T,B Analysis starts f - emphatic opening lower piano part plays octaves - strong and loud b. 2 moves up in semiquavers by step to leading note then moves by step back down b. 3 repeated bass pattern returns b. 4 higher piano part moves in major 3rds b. 17 voices enter with dotted rhythm - creates a joyful feel b. 17 homophonic texture b. 19-21 antiphony between full choir and orchestra - punctuates what choir is doing b. 28 orchestra has faster rhythm 3 of 8 Vivaldi's Gloria (Mass) - Gloria In Excelsis Deo c b. 28 choir grandios - moves in step b. 29 orchestra has constant quavers - helps move piece along b. 33 trumpet and oboe helps help to provide support b. 36 fanfare motif enters in trumpets 4 of 8 Vivaldi's Gloria (Mass) - Et In Terra Pax Hominibu Et In Terra Pax Hominibus B minor - relative minor of mvt. 1 - nice link Et In Terra Pax Hominibus - peace on earth for all humanity andante - walking pace - relevant to name 3/4 metre - lilting feel sombre feel Analysis starts mf - quieter than mvt. 1 b. 1 quavers still a feature b. 9-13 1st idea b. 9 canonic/imitative voice entries - p dynamics not a fuge - but 30 fugal entries - shows how difficult it is to have peace b. 18-23 2nd idea b. 34-45 contrast between choir and orchestra in rhythmic ideas - represents no cohesion/feel of uneasiness final bar doesn't resolve - symbolises how getting peace is never-ending 5 of 8 Vivaldi's Gloria (Mass) - Qui Sedes Ad Dexteram Pa Qui Sedes Ad Dexteram Patris Alto solo - would've been sung by a girl in the orphanage - now sung by a male counter-tenor 6 of 8 Vivaldi's Gloria (Mass) - Cum Sancto Spiritu Cum Sancto Spiritu D major (back to) fugue written for S,A,T,B has 2 main ideas - overlap bouncy Analysis 4/2 - common in Baroque period - not now b. 1 opening subject enters in tonic b. 3 counter subject - played whole way through before counter subject comes in b. 6 answer to counter subject - 1st subject returns - always comes on dominant b. 6 should have a C# to imitate 1st subject but has B - is tonal answer instead - altered to fit harmony b. 7 counter subject returns for second time 7 of 8 Vivaldi's Gloria (Mass) - Cum Sancto Spiritu conti b. 17 instrumental interlude b. 25 counter subject returns for the fourth time b. 28 1st subject returns for fifth time - tonal answer b. 30 counter subject returns for fifth time b. 36 starts off as 'real' 1st subject b. 37 stretto - counter melody comes in before 1st subject has finished - adds intensity b. 39 no rest between counter subjects - straight after the last b. 55-56 imitative entries b. 69 seriously altered counter subject - adds excitement b. 72 1st subject tonal answer b. 73 both melodic ideas come in together - homophonic - doubling makes it stronger 8 of 8
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